Review of Cork City Ballet’s Giselle

Cork Opera House – November 2007

Jo Kerrigan
Irish Examiner, November 23^rd 2007 

In the world of ballet, Giselle is a classic, dating from 1841 when Carlotta Grisi created the title role to the legendary Petipa’s Albrecht.  Over the years, it has remained one of the most popular in the classical dance lexicon.  This week, Cork City Ballet has passed a milestone of its own in staging this, its first ever full-length ballet, at the city’s Opera House. 

This was a Giselle to remember, one in which it would be difficult to find a fault.  From the opening moments in the rural Rhineland village, to the chilly closing loneliness in the darkness of the forest, it was an utterly captivating production that (literally) didn’t put a foot wrong. 

So much depends on the dancer in the title role, and Monica Loughman, playing Giselle for the first time, does not disappoint.  She brings a delicate ethereal quality to the part, shy and disbelieving at first of Albrecht’s love, and then radiant in her short-lived happiness.  Her decent into madness at the end of Act I is exceptionally effective, with trembling uncertain steps and half-finished movements – excellent interpretation of choreography here.  In Act II, she truly does dance like a ghost:  sad, lonely, yet still reaching out from beyond the grave to save her faithless lover. 

She is well matched by Alexey Nasadovitch, dancing with CCB for the first time.  This Russian star displays a breathtaking strength in his leaps and turns, while the lightning speed of his entrechats had the audience breaking out in spontaneous applause.  Leighton Morrison also shone as the jealous Hilarion, with a spectacular death dance; and Myrtha was interpreted with superb chilly coldness by Andrea Palacios.   

A breathtaking and memorable Giselle, and one of the best you are likely to see.